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Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mirror-tile geometric Artwork is considered the last innovation of Iranian artists in the group of the fine arts. That utilizes, for the interior architecture and decoration of buildings. The use of pieces of glass-mirrors and Mirror-tile artwork has economic origins and recycling roots. In the beginning, the Glass-mirrors, which had been brought to Iran from Europe, break during transportation. Iranian artists and Muslim Craftsmen found an innovative way to take advantage of these broken pieces and used them as Mirror-tiles. Being wasteful is an act that is abhorred in Islam. In traditional Iranian-Islamic art, the mirror element, besides that has been one subject of aesthetics for decorating the architectural built-space, includes deep cultural concepts that have not been considering for various reasons. This research looks at semiotic signs from an analytical point of view and explaining the use of the Mirror-tile art in Iranian-Islamic architecture by quoting information from the analysis to understand the quality of architectural built-space decorated with the Mirror-tile art. Aim to introduce the real and genuine aspects of mirror art as an influential architectural element through the thoughts of its creators as a result, in this research, first, the concepts related to semiotic ideas are dealt with descriptively, and, with an analytical approach, a connection established between various theories. Mirror-tile art also contains tremendous amounts of meaning - messages that words can never describe. For these craftsmen, that's at the core of their creation. Among the mystics, the inner language is the language of Spirit and Truth, and the tools of that language are the symbol and indication. With the aim of the influence of the Persian mystical thoughts about the mirror, this study cum the available historical and contemporary sources and analyzing them deals with the hidden meanings in Mirror-tile artwork. Reveal its connection with mystical thoughts through Persian literature.

in the Azbakeya neighborhood within the activities of the theater festival for higher institutes and private academies within the framework of participation in the competition of the Ministry of Higher Education for the 7-color band for students of the Higher Institute of Applied Arts on the sixth of October. The text was written by Salim Kitchener, and revolves around The events of the play are in an absurd framework that tends to symbolism, as it revolves around Antar Ibn Shaddad from the era of pre-Islamic era, coincidentally speaking to him with Shayboub, as they move through time and reach our present era.After reading and analyzing the text and attending several rehearsals for the presentation and discussion with the director, it was agreed to deal with the show in an absurd manner that tends to symbolism, because the text is based on a fantasy idea whose events are inspired by the author's imagination. The researcher identified the main problem, which is: How to create an actual image on the stage that moves the spectator from the era of ignorance to our present time and from place to place where events move six different scenes until they end up in a mental hospital and achieve this despite the weak budget because the show is an activity My students on a limited budget?The researcher wondered, is it possible to find a quick way to implement the decoration and change the scenes to move the spectator from one scene to another without feeling the events stopped or leaving the absurd dramatic atmosphere? Finally, is it possible to design and implement a decor suitable for displaying the text on two theaters, each of which differs in standards and specifications, as the novel was shown on the Romance Theater in May 2018, and then the El-Sawy Culture Wheel Theater in Cairo, Zamalek District, in July 2018?Consequently, the researcher designed a decor in an absurd manner that tends to symbolism, as Antara Ibn Shaddad travels through time from the era of ignorance to our present time and moving from place to place until they end up in a mental hospital, and they do not believe the extent of human degeneration in moral values and humanity.

ne. Many directors in the field of cinema have benefited from these meanings and psychological connotations of color in their works, as the psychological impact of color appears in the theatrical scene.Through research, some artworks are monitored and analyzed by the theory Color has great merit in the process of sight, in addition to the fact that the feeling of color increases the visual sensation, and then the perception and distinction between things very quickly.Color has a different meaning depending on the feelings that it provokes, it also plays a very important role in the world around a person, as it can influence his feelings, thinking, reactions, and the things he chooses.It is well known that the plastic arts are mainly based on the formation with a set of the available materials to the artist, so that he can produce an art work that expresses the aesthetic and utilitarian needs at the same time, and one of the most important of these materials is (colors); as It expresses the culture and history of peoples and reflexes the human impressions, colors indicates the Man’s taste and sophistication, and have their effect on people’s mood, as it convey a strong expression, evoke special feelings, and affect the soul with certain effects that differ from one person to another.. Colors also help in the process of artistic blending between realism, art and aesthetic effects of the visual image through achieving color harmony in the dramatic situation. There are different uses of colors in the artwork, including the use of color for its own aesthetic value, and there is the use of color in a symbolic use.There is no doubt that colors are an important factor in creating the appropriate atmosphere and influencing the theatrical scene with its aesthetic values, besides designing Decoration, lighting, clothing and makeup, to form an integrated artistic vision for the dramatic work. Color plays a vital role in the design of the theatrical scene. It also works to highlight the unity of the dramatic event, and the relationship of the characters with the contents of the composition of the sceclarifying of its meaning and importance.

Copyright of Journal of Islamic Civilization Studies / İslam Medeniyeti Araştırmaları Dergisi (IMAD) is the property of Islam Medeniyeti Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Marquetry, which was used as an ornamentation technique during the Mughal period and continues to this day as an important source of livelihood in India, is a valuable heritage that the Mughals left to India with a unique style. The colored stone inlay technique, called parchinkari (pietra dura) in Mughal sources, refers to the ornamental technique used to create patterns on the surface of buildings using colored precious and semi-precious stones. Parchinkari technique is widely used in the decoration of architectural and handicraft artefacts in Mughal art at the end of the XVIth century and throughout the XVIIth century. This study examines the debates on the origin of the parchinkari technique, as well as its construction, usage areas and important examples in the Mughal capitals under separate headings in the light of period sources and other studies on the subject from an objective point of view. [ABSTRACT FROM AUTHOR]

The origin of theater in all civilizations goes back to celebrations related to religious rituals, and the evidence is a manuscript of an Egyptian religious play written before 2000 BC. Greek drama - which is the original in Western theatrical composition - arose as people put masks on their faces, danced and sang in celebration of his memory. It is said that Thespas was the first to separate from the revelers to recite some songs and thus the first actor appeared.The birth of the theater was when Aeschylus added a second actor, and the Greek theater had reached the height of its glory in the 5th century BC, and the Roman theater did not reach the level of Greek drama, and if writers such as Senka in tragedy, Plautus and Terence arrived in comedy, and they had a great influence in drama after 16th century.hen the theater deteriorated under the Roman Empire, almost disappearing from opposition from the Church. And another type of theater appeared in the Middle Ages in Europe, which arose out of religious rituals. The play of miracles and the play of secrets became popular, which gradually changed until it moved away from religious subjects. And in the Renaissance began the movement to revive the sciences and the arts. The stage of the stage went through many stages of development, which added each of those stages a new dimension in the form of the stage of the stage and the methods of dealing with the elements of cynography. The stages of architectural development of the shape of the theater and the way it was built have clearly affected the way the decorator on the stage dealt with changing the scenography of a stage The stage of the stage by presenting the types of theaters architecturally from the ancient Egyptian civilization until now through the Roman and Greek theater and Renaissance theater, and its effect on the decorator's handling of the stage.

t. The evolution of the architecture of the city of Chisinau from the end of the 19th century to the beginning of the 20th century was conditioned by different historical, political, economic factors, etc., which imposed on it a certain stylistic typology of an eclectic nature. The development of industry in European countries and Russia contributes to the widespread use of new technologies and materials in construction. In architecture, the design process is divided into two aspects: 1) technical-constructive and 2) artistic-decorative. There is also a change in the relationship between the two related specialties in the field – engineer and architect. The construction engineer focuses on the construction of roads, bridges, industrial and military edifices, and the activity of architects is limited to the construction of civil and religious edifices with an emphasis on the aesthetic side. One of the architects with engineering training and broad knowledge in architecture is Alexandru Bernardazzi. Its activity includes „technical” constructions (roads, bridges, railway stations, water towers, etc.) and edifices made in various styles (classical, gothic, eclectic, etc.) (City Duma Building, Girls’ High School „Princess Natalia Dadiani”, the Water Tower, etc.).

The research dealt with the organic Islamic decorative units, and how the Muslim artist reached the highest degree of perfection in the architectural decoration and what was influenced by it in his various decorative arts in the Islamic eras, beginning with the Umayyad, Abbasid, Fatimid and owned ... etc. They are not just shapes, they are forms that have a symbolic function, This is what the artist sought in terms of the monotheistic belief, and also dealt with the Islamic character and the decorative arts in the modification of the decorative elements and the reasons for the modification that the Muslim artist turned to, and the identification of the performance methods that took place during the Islamic eras, and the clarification of the distinctive features and artistic and aesthetic values of the wooden decorative tapes in those ages The various artistic methods used in forming and processing them, and the decorative elements that were used to decorate and beautify the surfaces of the strips in the woodwork. And the Islamic cultural contact with the civilization of the Romanian Christian state by Byzantine, and this is one of the factors affecting the emergence and development of Islamic motifs, and the expansion of the Islamic empire, which extends from the Arabian Peninsula and moved to the Levant and Iraq and to the countries of East Asia, the countries of Asia Minor, the countries of North Africa, and the interest in the Muslim rulers With the arts of the countries they entered, and the social events that arose out of the new religion, namely the economic and scientific life, trade and stability that prevail in the country, this is what leads to the emergence of arts, and the emergence of Islamic art schools in different political roles and eras such as(The Amiriya, Abbasid, Egyptian, Iranian, Turkish, and Andalusian schools), and these schools have their own style and can be influenced by other schools, and the design and implementation of some of the woodwork that are compatible with our present and our needs, and keep pace with the nature of the era, in addition to it bearing the features of our Egyptianity The prestigious, inspired by the authentic Islamic art.

Lorenz Korn’un araştırma-inceleme niteliğindeki bu eseri, İslam sanatının mahiyeti, farklı coğrafyalardaki gelişimi, Antik Çağ ile ilişkisi gibi temel meselelere değinmektedir. İslam’da tasvir yasağı ve bu yasağın ikonoklazm hareketinden ayrışan yönleri üzerinde durmaktadır. Bunun sonucunda hat sanatı, kitap sanatları ve diğer dekoratif sanatlara kadar pek çok alandaki yansımasına dikkat çekmektedir. Eserin tartışma odaklı noktalarından birisi çini ve minyatür sanatlarında köken-kaynak fikrini Uzak Doğu- Çin medeniyeti üzerine kurmasıdır. Çalışma; mimari, süsleme sanatları ve modern dönem İslam sanatına varıncaya kadar pek çok alanda ve coğrafyada icra edilen Müslüman sanatını farklı yönleriyle ele almaktadır.

With the end of Joseph Vissarionovich Stalin’s governance, the period of totalitarian Stalinist architecture ended. From monumentalism, aesthetics and unique buildings, architecture was oriented to industrialization, prefabrication, project-type and economy, characteristic of the reign of Nikita Sergeyevich Khrushchev. After the monotony, it was passed to the architectural plasticity, brutalism and Soviet modernism characteristic of the time of Leonid Ilyich Brezhnev’s rule. Creative ambitions change with the succession of Soviet political leaders. Later, the arts did not know so many political “conductors”, the architecture developing more freely and diversified. The research focuses on the analysis and detailed descriptive study of ornaments on some components of “Stalinist” buildings in the Moldovan Soviet Socialist Republic. The author presents for the first time the original sketches of the architects. The images are a collage of past drawings and current photo fixations. Such an approach allows a visual comparative analysis between what was proposed by the author and what was achieved. The architects’ sketches allow the correct “reading” of the decorative elements, because today the buildings no longer keep the original version. Unfortunately, the decorum of socialist classicism has not been preserved over the years and it has been mutilated or even intentionally removed.

Copyright of Cahiers Victoriens & Edouardiens is the property of Presses Universitaires de la Mediterranee and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study focuses on a group of pilaster Corinthian capitals from Perinthus (now Marmara Ereğlisi). Information about them was published over a century ago (Mendel 1914, vol. III). The architectural analysis of these monuments, which were made of marble most likely acquired in the nearby quarries of Proconnesus Island (now Marmara Island), shows a unique similarity to the architectural details made by the stonemasons from the Asia Minor town of Aphrodisias. Separate groups of Aphrodisian masters traveled to a number of complexes and buildings throughout the Roman Empire. Their works are also found in the province of Thrace. The decorations of some monuments from Villa Armira, Oescus, Tomis, Odessos, Marcianopolis, and Anchialos are probably Aphrodisian. This is why the group of pilaster capitals in Perinthus are extremely important for understanding the path of Anatolian masters to Thrace. Not only the stonemason work but also the patterns of these pilaster details are very common to Aphrodisian handworks. The pilaster Corinthian capitals in Perinthus are a direct link between the original models from Asia Minor and the monuments produced in Roman Thrace. They were made in the Marmara Sea region, which is the closest place to the main center for marble mining during the Roman Imperial Era: Proconnesus. [ABSTRACT FROM AUTHOR]

Mirror-tile artwork is one of the most recent and striking phenomena in Iranian Spiritual Art. Aside from being an aesthetic item for adorning architectural building space, mirrors also exemplify profound cultural ideas. It has been applied in interior design and the decoration of holy and royal buildings with symbolic expressions and enigmatic nature. Initially, it was created using the broken and unused pieces of mirrors as a recycling project. Muslim artisans did not approve of wasting material. They used basic techniques to construct spiritual and effective Iranian-Islamic architectural spaces and ornamentations filled with mystery and marvels. This study is inspired by Giovanni Caputo’s research on the different psychological effects of mirrors, by the mirror phenomenon as an Iranian-Islamic architectural element, and as a psychological effect brought about by architectural components. It attempts to elicit responses from people who have been touched and encountered the phenomenon by asking them to describe their presence and experiences in a mirror-tile decorated environment. The interviews usually focused on two main topics; the first topic is concerned with the participant’s experience quality during their presence in the architectural space; the second is concerned with the way a person interacts with the various elements of the environment. As a result, there are two direct views at the moment of encountering the mirror-tile decorated architectural spaces: the “Close-look” (looking closely at one’s image) and the “Afar-look” (looking from afar, taking in the whole space). Moreover, the light a place and the emotional effects of the architectural built-up space on perception were the most critical factors for participants’ responses to achieve the research’s goal and thus laying the groundwork for future research in these areas.

Abstract This paper aims to clarify the process of the formation of Perriand's concept of “form” toward the “forme utile (useful form),” by tracing her production of furniture chronologically. In other words, by analyzing the intersection of the “Mingei (folk‐craft)” tradition experienced in Japan and the Western modernism of “forme utile,” this paper examines how the “new decoration” of steel pipe furniture as “form” led to her particular “decoration” of interior spaces. In Perriand's concept of “form,” touching the material itself was the primary issue. However, it was also synonymous with the main intent of the leader of Mingei movement Muneyoshi Yanagi, criticized her “forme libre (free form).” Furthermore, Perriand, who referred the aesthetician Kakuzo Okakura's “vacuum,” came to understand “form” as the correlation between human beings and the space that surrounds them.

Abstract This paper aims to clarify the formation process of the concept of “form” from the 1920s to the 1930s by chronologically tracing the creation of Perriand's furniture. That is, by analyzing the key terms “equipment,” “art brut” and “en forme (in shape),” this paper examines how the generation and transformation of steel pipe furniture as “form,” which was considered “new decoration.” When Perriand pursued the possibilities of “form,” the dualisms of industrial and natural materials were not at issue. When she sought in form to induce and “control” a gesture, the geometrical form limited and inhibited it. “En forme” was to liberate the threshold of gesture that form defines. Being “controlled” by the matter, rather than “controlled” by humans, could give rise to unexpected uses. It was the practice of her “new decoration,” a development of Le Corbusier's concept of “equipment” as the kind of interior “decoration” to regulate the typological gestures of humans.

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Ottoman mosques located in the small villages of western Anatolia provinces such as Afyon, Aydın and Denizli were characterized by some unique artistic features that distinguish them from other mosques in major cities in the same provinces, whether in terms of the used artistic style or decorative elements. The used artistic style 's known as a pen or pen Kalem işi, which appeared and carried out in abundance in several places in these villages mosques, especially on the walls that were covered with plaster, and on mihrabs, pulpits, chairs of preachers, and mahafils. As for the decorative elements that carried out in these mosques were varied between floral decorations like lale, karanfil, branches of mersin trees and Tube tree. The writing texts that played an important role in the decoration of villages mosques during this period, as they appeared in abundance executed above the entrances and mihrabs, as well as on the interior surfaces of the walls in these mosques, and these writings were executed in both the Arabic and Turkish Ottoman calligraphy. Its content varied between Qur’anic texts, the Muthanna inscriptions, structural texts, the names of the Ottoman sultans, the names of the great Ottoman mosques. Geometric shapes were carried out in these mosques such as the şarkifelek motif, and the various architectural drawings that represent the Grand Mosque, the Holy Kaaba, and other decorations that represent vertical sectors of some of the great Ottoman mosques. We add to this some drawings that are predominantly religious, such as drawings representing the Day of Judgment and the Mahshar, such as the sirat, the scale, heaven, hell, and the banner of praise. And ornaments representing drawings of various Sufi tools such as tabar, kashkool, turban, flags, hanging panels, and various other drawings that had their own symbolism, such as shapes representing prayer carpets and ship shapes.

The tendency towards modernization is noticeable in Belgrade's architecture from the beginning of the 20th century, in the form of stylistic norms adopted from the Vienna Secession, which was the medium through which the forces of the reforms in architecture, culture and art were incorporated in the overall processes of modernization of in The Kingdom of Serbia. These processes reflect the cultural strivings of Serbian society, the efforts to demonstrate its cosmopolitan spirit, and the need to elevate and complement its historicist architectural stock, grounded in academic and national models, with more modern elements. In the architecture of the Serbian capital, the Secession brought together and conciliated, in a way, these two tendencies. Only a small number of buildings were composed in the dominant Secession style, with the basic characteristics of dissolution and negation of the earlier compositional schemes of strictly symmetrical horizontal and tripartite, or quinquepartite division of façades with risalits and enclosed façades, as well as conspicuous cornices and friezes, pilasters, framed portals and windows. The Secession's decorative schemes were gradually introduced into the architecture of Belgrade as an authentic depository of a new decorative programme that consisted of both typical and original floral, anthropomorphic, zoomorphic and geometric ornaments, which replaced the classical repertory. This was especially prominent in the residential architecture that carried the ideas of the Secession. Therefore, one of the main goals of this essay is to interpret the role of the Secession in residential architecture in Belgrade from the beginning of the 20th century, and to introduce some of its lesser-known examples.

In 2019, during the rehabilitation project of the building located between Rua Miguel Bombarda, Rua da Misericórdia and Travessa das Peras, in Évora, a set of archaeological materials that range from Late Antiquity to the Modern Period were collected. From this set of materials, a frieze from the Visigothic period was chosen for study, dating from the 6th to 7th centuries AD, which was found completely out of context, in the building’s courtyard. In this sense, the present study offers a formulation of an analysis and interpretation of its function, typology and evidenced morphology, in order to promote a decorative-style and chronological framwork, through parallels found and already studied on peninsular territory. [ABSTRACT FROM AUTHOR]

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At the archaeological site of Marina el-Alamein in Egypt, many monuments and everyday objects feature motifs related to Aphrodite and her cult. One recurring theme is the seashell that lamps are often decorated with. In one case, it accompanies the depiction of the goddess herself. This article collects oil lamps with the image of a scallop shell from the research of the Polish-Egyptian Conservation Mission, as well as already published specimens from earlier archaeological research. It has been noted to date that this motif is one of the most common on lamps found in Marina el-Alamein. Shells also appear on architectural elements – in the finials of niches with a religious purpose, located in the main reception halls of houses. In such aediculae they are well exposed, but the use of shells does not arise from the shape of the architectural framing. Therefore, other reasons, possibly symbolic ones, for including this motif in decoration should be considered.

Decoration plays an important role in Islamic-Persian architecture. Being a synthesis of ancient traditions, Islamicinstructions, and different periods’ developments, this style of architecture applies various kinds of ornamentationthat convey spiritual values and concepts besides beauty. Although in Islamic lands and civilization, mosques haveconstantly been the focus of religious attention with magnificent decorations, other places such as bathhouses(hammām)—being in direct connection with ceremonious purification—enjoyed such characteristics as well.Despite the fact that there have remained few pre-Safavid samples of historic bathhouses, such buildings aboundfrom this period on. Studying these works acquaints us with the ornamental styles of the traditional bathhousesand makes us familiar with the evolution of decorations in later periods. The present study, conducted usinganalytical-descriptive and historical-comparative methods, aimed to investigate the developing trends emergedand continued in bathhouses with an emphasis on such decorative elements as tilework, wall painting, lime work,etc. from the Safavid era to the Qajar era. The results showed that Safavid architects’ achievements in bathhousesdecorations were manifested, as in other fields of art and culture, in those of later periods, especially the Qajarera. By increasing the motifs and expanding the spaces, Qajar artists extended and applied those methods andinnovations in some ornamental elements preserving the decorative tradition of Islamic-Persian architecture,particularly in public bathhouses.

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One of the factors that gives quality to residential spaces in different periods, is decoration which is appearing in various kinds. In diverse periods, architecture provides a decent foundations for several other arts. Such as Calligraphy, Plaster molding, mirror decoration, Paintings and etc. These kinds of art have an important role by giving quality to the architectural spaces. According to this fact, lots of relics from Iranian famous artists are left as a memorial in historical places. Nowadays, different approaches of architecture and decoration disunites these arts, consequently, the role of each one in giving quality to space, is separated from each other and become less important. In this regard, a relevant question is "What was the role of decoration in giving quality to residential space?" and another question related to it, is; "Is there any relationship between decoration and architecture?" the other question is also, "Was there any system or organization for the presence of decoration in the residential space?" To answer these kind of questions this paper investigates the state of decoration in past architecture. The authors had been using descriptive, analyzing and measurement methods in order to present the relation of decoration and architecture quality. On the other hand, evaluating the role of decoration especially wall-painting in the quality of residential space is the main purpose of this article. To achieve this goal, Yazd Shafipour house is chosen as a worthwhile case study. The authors have been used questionnaires, conducted interviews and documented their observations in order to obtain a precise investigation. Investigate the role of these decoration especially paintings in the quality of spaces and describes how these various “Art” is an uncountable noun. Replace “kinds of art” to make it countable. Appear in different spaces of Yazd Shafipour house. After that, by considering the decoration of this house, this paper classifies and describes all kinds of decoration that is used in Yazd Shafipour house. At the next step to evaluate the role of Yazd Shafipour house's decoration in the terms of its spaces, some questionnaires has been prepared and given to architecture students. Finally an analytical strategy has been has been employed and the result of these studies presents in the form of charts and tables. These results indicate that decorations have had a significant impact on the quality of the spaces in this house. This article presents the order of facing with decoration for space designing. It also determines the importance of decoration in residential spaces. The final result indicates that decoration has a significant role in residential spaces. The most important role of decoration, especially wall-painting, is improving the quality of architectural space. It also has important components that play a fundamental role in the design process of architecture design for legibility and identity to the spaces, and designers must pay attention to the type of decorating and its amount proportional to space. The results of the studies showed that decoration have at least three different roles in the quality of a residential spaces: 1. Decoration promote the qualitative characteristics of space With the advent of decorations, many qualitative features of space, such as artistic, imagination, complexity and diversity, are promoted. 2. Decoration moderate and then promote the qualitative characteristics of space Decoration in the first stage acts as a moderator of qualitative characteristics of space, and in the second stage it improves the quality of space. The traits included in this category are: dignity, beauty and perfection. 3. Decoration moderate the qualitative characteristics of space Decoration actually moderate some qualitative traits of space, and with increasing decorations the definite traits do not change. Traits that are balanced by decorations are: order, unity, calmness and greatness. The results of this article will be used by designers and artists to give quality to the spaces they create.

In our research, there are 11 graves that have survived to the present day in the grave of Kesan Ahmet Pasha mosque. One of these tombs is coffer grave (symbolic sarcophagus), others are tombs, which are covered by soil (not by concrete or stone). All the gravestones were photographed and their epitaph were read. By examining the title types, forms and decoration features of all the examples, we tried to determine their place in the Turkish tombstone art. In this study, each tombstone was examined separately and general evaluation was made on stones. The time of some gravestones in the grave is sought because of the destruction of the stones in time and some places in the gravestones are not included in history. However, it is dated by us while looking at examples of the termination date and similar examples from the 19th century. In the three tombstones, the years unknown, because the stones remained under the ground. The earliest specimen of the tombstones that we examined belongs to 1519 and the latest specimen belongs to the 19th century. In others, there were no dates. Ground carving technique was applied as a method of processing stones. The gravestones, where simple examples were at the forefront, were decorated with floral motifs including vine, curved branches, rose bouquets and cypresses. Late period examples show differences in tombstones due to the change in architecture and there are differences in ornamentation program.The tombstones stand out as examples that continue the Ottoman tombstone tradition in terms of social and cultural terms. [ABSTRACT FROM AUTHOR]

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Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Ilkhanids made considerable changes in their ancestors' legacy after capturing Iran caused the creation of complex geometric patterns. Exhaustive research has been undertaken about the features of decoration of this era; however, the raised question is how this progress could have happened in spite of slaughtering or secluding the artists. The purpose of this study is to point out the role of the most effective factors in the formation of the decorations with complex geometric patterns during the Ilkhanids' era. This study implements a descriptive-historical approach with reference to written library sources. The analysis of the observations shows that Iranian rulers and scholars, especially Nasir al-Din Tosi, have played a key role in this development. This includes especially Nasir al-Din Tosi who is the composer of several fields including astronomy, ethics, history, logic, jurisprudence, mathematics, medicine, poetry, and philosophy as well he translated from the Greek geometry books. His success influenced Mongols. Eventually, he was appointed in several administration positions. His position influenced the promotion and progress of the geometry and math and their application in architecture and engineering. In fact, it can be said that the interaction of architects and mathematicians, which was Tosi's brainchild, brought about a turning point in the Ilkhanids' art and architecture, especially geometric decorations. [ABSTRACT FROM AUTHOR]

The pedestal of outdoor furnishings is a facility of courtyard outdoor furnishings. It is an important part of ceremonial furnishings in official buildings. The Qing-style pedestal of outdoor furnishings has unique shapes and ornamentations as well as rich artistic connotation. In addition to having significant artistic value and historical value, it also embodies the user’s aesthetic taste. [ABSTRACT FROM AUTHOR]

Although concentrating on Mughal tilework, this paper also discusses its predecessors elsewhere in the Islamic world, particularly in Iran, Central Asia, and Sultanate India. A brief survey of the development of the main techniques, namely monochrome-glazed tiles, sgraffito, tile mosaic, underglaze-painted and cuerda seca, both in Sultanate India and in other parts of the Islamic world, precedes the discussion of Mughal examples in the body of the paper. The paper highlights the initial links with Sultanate tilework, whether underglaze-painted, as in the Punjab, or with tile mosaic, in northern India. The development of Mughal tile mosaic is emphasized, as this was the medium most frequently used for tile decoration. Changes in the colour palette and in the introduction of new patterns are examined, highlighting the extensive use of figural imagery at the Lahore Fort and the simultaneous introduction of naturalistic vegetal panels. The less-frequent Mughal use of underglaze-painted and cuerda seca tiles is also examined. The conclusions summarize the characteristic features of Mughal tilework and suggest areas for future study. [ABSTRACT FROM AUTHOR]

Visiting Oman, one firstly encounters wide roads and exaggerated decorations of house façades—situated behind high walls. These broad roads and decorated dwellings are unlike traditional Omani architecture which can be identified as very sensitive to scale and climate. Omani architecture can also be visualized from the narrow streets and low height buildings across many well-preserved villages; built using humble mud or stone structures. Another encounter one might have is the traditional ‘Omani burqa.’ It is worn by some Omani women, originally designed for protection from dust and sand, which mimics the features of a falcon. Lately, the ‘Omani burqa’ has developed into a true fashion-item and is used as a ‘face mask’ with different colors and shapes. Fashionable burqas are often decorated with shimmering crystals or diamonds which differs from the traditional design. What is visible behind the ‘burqa’, the ‘eye’, and the ‘burqa’ itself, become quite embellished, subsiding the importance of the other parts of the face. The façade design of a modern Omani house and its walls are like the modern ‘burqa’ and the ‘eye’. Even though the house is separated from the street by high walls, the importance of visual access from the street to façade can be perceived from the highly decorated house façades, and decorated walls at the same time. This study—using visual analysis of house façades in Salalah, Oman—attempts to identify the architectural elements used in architectural design. These elements are repeated all over Oman, to accentuate visibility from the street to the façade. Eventually, the study concludes that the importance of the visuality from the street to the façade, in a changing ‘closed’ society, is the leading factor for the embellishment of the wall and the façades, rendering the overall design behind the wall insignificant.

Copyright of Anales de Investigación en Arquitectura is the property of Universidad ORT Uruguay, Facultad de Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of History Studies (13094688) is the property of History Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Fashion and architecture fields as non-verbal expression languages are affected by social, cultural, economic and historical factors and shaped around creativity. In both disciplines, based on human scales, employed material is brought dimension in the scope of math. Hue, texture, material, rate-ratio, line, form and shape are common design components of both fashion and architecture. Especially it is possible to see the accrued interactions in terms of pattern, form and decoration throughout the history. The aim of this survey is determining the common grounds, similarities, and interactions of clothing and architectural design that cover to protect the human body based on housing instinct. Descriptive method is used in the survey that examines the subject in depth. In the survey, that structural constitutions constructed on human body are studied in both fields in extent of art, status of fashion designers are affected from architecture is examined. New approaches are exhibited by giving examples of clothing designs in accordance with architectural principles.

The "Atrio Mistilineo" of the "Accademia" at the Hadrian's Villa is a building of extraordinary complexity, which architectural experimentation makes it a unicum within ancient architecture. The monument has already been widely presented and discussed in a dedicated article, published in volume 123 of this journal. This uniqueness had also to be showed through the decorative and statuesque apparatus, which craftsmanship level was among the highest in the Creek-Roman statuary: the Centauro Vecchio and Centauro Giovane - that can be now certainly related to the monument thanks to the finding of two new fragments the two Fauni ebbri in rosso antico marble, of which the Fauno Capitolino provenance from the Atrio Mistilineo is almost certain, instead for the Fauno Vaticano it remain just a suggestion, even if not unfounded. Many studies have been carried out putting particular emphasis on formal and communicative characteristics of these statues. However, the interest in the monument that housed them was almost absent. In light of the new architectural study carried out and published on the building, the objective of the following paper is therefore attempt to trace the link between statues and context, trying to reconstruct the original location and the themes expressed within the figurative program. [ABSTRACT FROM AUTHOR]

The mezzanine level of the Natural History Museum Vienna displays a decoration program consisting of paintings and caryatids that at the time of its creation complemented the objects exhibited in those rooms. Halls XIV und XVI, which originally housed the museum's ethnographic collection currently magazined at the Weltmuseum Wien, are decorated with caryatids showing representatives of various indigenous people. Unfortunately, no records exist as to the specific ethnicity of the depicted persons. In many cases there are, however, indications that make it possible to assign a specific ethnicity to the sculptures. The purpose of this paper is to show that it is possible to determine the ethnicity of at least some of the caryatids from the objects they carry. Specifically, it was possible to identify the Maori in hall XVI on the basis of a tewhatewha club and the Fijians on the basis of a totokia club. It is to be hoped that this article encourages further discussion of these sculptures from an ethnographiciconographic point of view and will lead to the certain identification of all depicted ethnic groups. [ABSTRACT FROM AUTHOR]

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Built at Hendaye by Eugène-E. Viollet-le-Duc and Edmond Duthoit for the Ethiopist scientist explorer Antoine d’Abbadie, the château d’Abbadia (1864-1884) is characterized by an extraordinary artistical eclectism which mixes gothic inspiration and Eastern sources, among which the fashionable Islamic East and rarer Ethiopia. Proceeding of architectural rationalism, Abbadia’s Easts are distinguished by their relatively contradictory meanings associating aesthetical taste and human engagement.